Well meant

In large parts of the United States, a man known to be married to an East Asian woman can expect to be asked, “Does it slant?”

That conversational opener is sometimes followed by the explanation, “Hee hee, I’m just messin’ with yuh.” By acknowledging the irony of the question that has just been asked, this shorts the communicative circuit by making an answer impossible. Functionally, hee hee is equivalent to, “I asked a question about the anatomy of a third party, but the only anatomy I’m actually concerned with is yours. My question, “Does it slant?” wasn’t a whimsical Wallace Stevens query about your wife’s yellow vagina but a demand for your pain. If the pain shows in your face, I’ll know that my demand has been acceded to and you have begun to learn my way of asking.

“Speaking of which, my way of asking is the only way.”

Which implies that yes, a conversation built around a question usually takes the form of a duet, but if the question is Does it slant? the melody and the lyric won’t belong to the same music. The melody of Does it slant? is a vocalise sung in the rising tone of a request for communication, but the spoken lyric says Don’t talk back to me. The tone and the content of the slant question — a question asked in the register of a social context but demanding an answer in the register of a solitary one — are cognitively dissonant, and perhaps that is why the Hee hee usually comes out as a phlegmy wheeze.

Because that’s ugly, we would prefer to keep listening just for the tone. After all, too, everything in language until the downbeat on slant taught us that words form a harmony. So if our partner in the duet should now happen to let a beat pass without Hee hee, we’ll gratefully hope that that nothing will now be the rest of the song. Just that, just the wheezy noise not made while the speaker catches his breath, will be all it takes to give a downbeat to the gratitude and cue us to believe He must mean well.

Unfortunately, the gratitude we feel to the tone won’t be comprehensible to the lyric. Speaking into the silence something hopeful like, “No, it doesn’t slant” will only re-cue the wheeze and the coughing bark: “Slant! Har!” But the echoes of that noise are where we’ll discover something that was in the joke’s libretto all along. To the delight of the barking man, the effect of the discovery will be visible on the surface of our thought, in the darkening face. But behind that surface, in the light of the mind, the discovery itself will be this: in the universal irony of language, words can work against themselves to create anti-meanings, and one of those words is the verb mean.

Euphemism and its art: the word “Norway”

The euphemistic word:

Trump derides protections for immigrants from ‘shithole’ countries

January 12 at 12:56 AM
 

President Trump grew frustrated with lawmakers Thursday in the Oval Office when they discussed protecting immigrants from Haiti, El Salvador and African countries as part of a bipartisan immigration deal, according to several people briefed on the meeting.

“Why are we having all these people from shithole countries come here?” Trump said, according to these people, referring to countries mentioned by the lawmakers.

Trump then suggested that the United States should instead bring more people from countries such as Norway, whose prime minister he met with Wednesday.

The Washington Post, January 11, 2018

The euphemism glossed:

Harald-Damsleth-SS-MesterskapetC

Photoshopped. The titles translate as “The SS championship” and “Germanic Norway.” For information about the Norwegian Nazi artist Harald Damsleth, see http://jonathan-morse.blogspot.com/2010/01/home-front-art-familiarizing-defamiliar.html.

 

Language note: the possessiveness of the pronoun “our”

The Department of Asian Studies at my university is now circulating a petition which reads, in part:

In response to and strong condemnation of recent expressions of hate directed at Muslim and Jewish communities in Hawaii, we endorse the following statement:

Over the past weeks the Manoa Mosque has been the target of multiple hate messages via social media, email, and voicemail. Individual Muslims have been harassed in public, including children. Also, Temple Emanu-El was targeted with a bomb threat against its Jewish pre-school.

We stand together with our Muslim and Jewish communities and any individuals who are subjected to harassment based on religion, immigration status, national origin, race, gender, LGBTQ+ status or disability. No one should go through this experience alone.

That’s how compassion expresses itself in current academic language: categorically, sorting its intended beneficiaries by administrative identifiers: “religion, immigration status, national origin. . . .” And along with the compassionate categories, as a logically required complement, there are also anti-compassionate categories: for instance, “the US” in a recent contribution from my department titled “The Homes of Zionism: Circuits of White Supremacy between the US and Israel.” There, the Marxist term “the US” functions in the same way as the Republican term “Democrat Party”: as an ugly, unidiomatic locution meant to make its subject sound ugly and alien. But that’s the way my department talks, and the attitude toward Jews represented by conflating Israel with the Klan is what a consensus lexicon sounds like.

Considered that way, as the lingua franca of everybody who matters, it has an important thing in common with the compassion-categories of the petition: it is the vocabulary of a collective mind named “we.” If we were to try thanking that “we” for its compassion for the Jewish community, we might acknowledge the significance of the generous impulse by pointing out that Israel too is a Jewish community — in fact, a Jewish community created expressly to protect against the social consequences of hate. But of course, that time, our gratitude wouldn’t be wanted. It would not only be rejected; it would be misunderstood, uncomprehended, estranged from meaning.

Grammar would have accomplished the alienation. In the instant of its being heard, the possessive pronoun “our” in the petitioners’ phrase “our Jewish community” controls and limits admission to the meaningfulness of the term “Jewish community.” By modifying “Jewish community” to “our Jewish community,” it changes the reference of both “community” and “our” from terms that include to terms that exclude. Modified in that possessive way, the term “our Jewish community” instructs its speakers to think of Jews as theirs to possess — pets, say, who belong where the human community says they belong and nowhere else.


*

A footnote to the note: William Safire’s The New Language of Politics: A Dictionary of Catchwords, Slogans, and Political Usage (rev. ed., 1972) traces the history of the term “Democrat Party” back to Thomas E. Dewey in the 1940s. During the same era, cartoons in Socialist Camp periodicals like Ogonyok routinely identified villains as American by depicting them wearing the U. S. Army’s “U.S.” lapel badge. The artistic fascination with that un-Cyrillic squiggle lives on in North Korea, even when the artists get it backward:

Heritage

Toward the end of its era, Fascism embarked on a campaign of cultural self-pity. Italy has been attacked by darkness, Fascism told Italy. Everything that Italy has inherited from its past is being violated. In the chiaroscuro, it may seem that nothing remains for us but to grieve. Our candles are out; our heads are bare and bowed before the advent of the black helmets. However, our light will return. Something that will not die bows down to us in our grief and whispers light’s vindicating truth.

But even as the black helmets were making their slow way from temple to darkened temple, the land under Italy’s temples was being cleared day by bright day from the air. Most of the bombers that came flying through the light to accomplish that task of war were Consolidated B-24s, and these bore a propaganda name of their own: Liberators.

In the sheets of light beneath liberation’s radiant onslaught, Fascist art could do nothing except to repeat its now meaningless trope of darkness. Desperate to continue depicting the trope, it once went textual and tried to supplement its now meaningless self with an explanation outside the picture:

“Liberators take liberties!”

Outside the picture, the pun is too witless even to be visualizable. But the image’s trope of darkness retains some meaning nevertheless. Seventy years after the fall of Fascism in Italy, it still speaks to the politics of the United States. It does so because it articulates a myth, and myths are hard to make die.

After all, there can be no light without darkness. That is one sense of the myth of Pluto and Persephone.

Bernini

That myth says: Light goes down into the underworld and is reborn there from death to life. This will be the happy ending of the art-stories of the looted church and the rape which has been redeemed for art by a successfully understood allusion to Italy’s cultural heritage. When he wrote the history of anecdotes such as those, Ezra Pound was fond of using the word splendor, which means brilliance or radiance. But a splendor returned from the underworld has been in that which is dark, and when it reascends it can never again be immaculate. Bearing shadows within the folds of its mantle, splendor must bring darkness back with it. At nightfall, splendor’s darkness will rejoin the primal dark. Then, after morning comes, we may pick up our brushes once again, seventy years later, and charge them once again with black.

At the present linguistic moment, the Pound-word “heritage” is one shade of that black. Spoken today by reenactors remaking themselves as ghosts on battlefields, it is a word that darkness has taken to itself and refashioned as a mode of immortal yet unliving form.


Look at heritage’s eyes. Look at its pointed fingers delicately touching its slender musket. Understand, as you look, the lesson that heritage is wordlessly teaching you: the lesson that darkness, having once been comprehended by art and shaped by it into myth, can never wholly return, forgotten, to the past and to death.

Sources: the Italian propaganda posters come from a collection at http://ic.pics.livejournal.com. The image of the B-24 comes from a site for airplane modelers, Wings Palette, at http://wp.scn.ru. Its Russian caption translates as, “98th Battle Group, Libya, 1943. Shot down August 1, 1943, by [Bulgarian] Lieutenant Stoyan Stoyanov.”

The image “Unidentified soldier in Confederate uniform with bayoneted musket and knife” is in the Liljenquist Family Collection of Civil War Photographs, Library of Congress, http://www.loc.gov/pictures/item/2014646219/.

All images photoshopped.

“Hordes”: an attempt at visualizing the metaphor


Source: George Grantham Bain Collection, Library of Congress, http://www.loc.gov/pictures/item/ggb2005022285/. Photoshopped.

In The Great Gatsby, the title of the book that disturbs Tom during the summer of 1922, The Rise of the Colored Empires, by “Goddard,” is an accurate topical reference to Lothrop Stoddard and the propaganda campaign that resulted in the Immigration Restriction Act of 1924.